Art History: Contemporary Perspectives on Method

Art History: Contemporary Perspectives on Method

Dana Arnold

Language: English

Pages: 184

ISBN: 1444333593

Format: PDF / Kindle (mobi) / ePub


Art History: Contemporary Perspectives on Method examines the various patterns and approaches to the discipline of art history exhibited across the scholarship of all periods over the last 30 years, resulting in a cross section of art history in all its complexities and a timely survey of its historiography. * Newly commissioned essays by a group of international scholars * Takes a trans-disciplinary approach to the history of Art History * Each essay presents original and incisive arguments * The essays combine to present a thought provoking re-evaluation of the methods of Art History

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Gospels 156 Gothic style/spirit 112 Goya, Francisco de 84, 156, 158 Tauromaquia 157 Graham, Dan 70 Greek art 106 Greek myths 14 Groningen 140 Grossmann, Fritz 144 Grosz, Elizabeth 12 group portraiture 104, 106–7, 118, 123 development of 114 Grundintention 114 Gu, Wenda 71, 73 Guattari, Felix 84 Guggenheim Museum 72 Gutai group 70 INDEX Haacke, Hans 66 habitus 119 Hadid, Zaha 159 Haines, David 158 Halley, Peter 67, 70 Happenings 70 Harbison, Craig 144 Hard Edge 65

to modernity 86 sensual experience confined to limits of 48 solipsism of 41, 48 splitting of the subject in 160 theoretical 151 viewer’s attempt to stabilize 51 Performance Art 62, 67, 63–4, 69, 72, 73, 84 performative notion 161 periodization 4, 74, 75, 90, 92 perspectivity 105, 106 petit-bourgeois 115, 118 phalluses 11, 24 phenomenology 3, 4, 5, 79, 101, 102, 103, 112, 158 and interpretation 34–55 philosophy 2, 3, 4, 17, 81, 86, 100, 104 complex analyses of painting 93 idealist

by shifting our focus to the immediacy of the work of art. In Dan Karlholm’s chapter, our understanding of chronology as a standard tool in the writing of Art Histories comes under scrutiny. Karlhom examines a widespread and influential art-historical genre, the survey text, and concentrates on how the ‘contemporary’ has been absorbed into this form of narrative since the early 1980s. He is mainly concerned with the uses of language and the problems of classification and periodization in the

conceptual artist is effectively denied when his ‘work of the 1960s’ is said to have ‘intersected with that of the Conceptual artists’. The last artist in the most recent edition is Matthew Barney, represented by the Cremaster cycle (1994–2002). The cycle, installed in the Guggenheim Museum rotunda in 2003, ‘typifies the scale of many contemporary works’ which are deemed congruent to ‘the immense scale and often frenzied pace of contem­ porary life’. Underlined in this concluding paragraph on the

‘The Postmodern Era: Art Since 1980’. But more than that, the peri­ odization has been nailed down to a precise moment between post-war and postmodern, the year 1980. In a sense then, all of the texts included in my survey belong, following Janson, to ‘The Postmodern Era’ (which is taken to begin in the 1960s or 1970s and reach its peak in the 1980s). Now, in order for such an era to be established or be distinguishable as such, it would need to have ended, and in fact both the last two editions

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